Igbo music (Igbo: Egwu nkwa ndi Igbo) is the music of the Igbo people, who are indigenous to the southeastern part of Nigeria. The Igbo traditionally rely heavily on percussion instruments such as the drum and the gong, which are popular because of their innate ability to provide a diverse array of tempo, sound, and pitch.[1] Igbo music is generally lively, upbeat, and spontaneous which creates a variety of sounds that enables the Igbo people to incorporate music into almost all the facets of their daily lives. Some very popular Igbo musical styles are Igbo highlife, Ogene, Igbo gospel.
When examining the impact that music has on the culture of the Igbo people, one would have to look no further than the earliest accounts of the vast history of Igbo in Nigeria. Igbo people are speculated to be descendants of the people of the Nok culture that a large area of central Nigeria from 1500 BC to 200 AD.[1] The Nok civilization is very popular because of the vast amount of colorful artifacts that they left behind, which include an array of musical instruments some of which on surface examination are somewhat similar to those found in Igbo Ukwu. It is not known when the beginnings or first vestiges of Igbo music sprung up. However, from the range of traditional lullabies, rhythmic proverbs and poems, work songs and general use of music in day-to-day life, music has influenced.
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The drum is the most important musical instrument for Nigerians, and especially the Igbo people.[2] This instrument is extensively used during celebrations, rites of passage, funerals, war, town meetings and an array of other events. Since this instrument is so diverse, many types of drums have been crafted and perfected over the years.
Other instruments include a woodblock known as okpola, a wind instrument similar to the flute, called an j and the ichaka. The Igbo also have a style of music called Ikorodo, which is when all the musical instruments are played together with vocal accompaniment.[4]
The instrument is played by hand and produces a special and unique bass sound [1] by quickly hitting the big hole. Furthermore, the whole corpus can be played by fingers (some experienced players also use toes). Today it is widely used by percussionists in different music styles.
Some popular Igbo musicians past and present include: Sir Warrior (Head of Highlife), Oliver de Coque (King of Highlife), Celestine Ukwu, Onyeka Onwenu, Chief Stephen Osita Osadebe, Bright Chimezie (Duke of Highlife), Nico Mbarga, Oriental Brothers (Stars of Music), onyeoma tochukwu, Faze, umu obiligbo. For more examples, see List of Igbo peopleĀ Musicians.
Eze founded Ichoku Academy in 2018 as an organization devoted to the promotion and preservation of Igbo music. Providing instruction to children and adults, the academy seeks to conserve traditional folk forms and instrumentation, while developing Igbo musical culture to meet modern needs and creative expression.
Ijeoma Iruka Forchu is a research fellow/lecturer at the Institute for Development Studies and Department of Music. She has B.A. (Music) from the University of Nigeria, Nsukka. She obtained M.A (African Studies) from the University of Ibadan, M.A. (Ethnomusicology) from Nnamdi Azikiwe University Awka, M.Sc. (Development Studies) from University of Nigeria Nsukka, and Ph.D. (Ethnomusicology) from NnamdiAzikiwe University, Awka. Her research interests include music in Nigerian development, gender and sexuality in Nigerian popular music and preservation of indigenous music.
This article aims to understand how modern Igbo women in a patriarchal, dynamic, and fast-globalizing southeastern Nigerian society interpret and create meaning through the concept and practice of traditional music. I employed ethnographic and musicological research methods and focused on the organization, performance practice, and musical contents of three Igbo women's ensembles. One of my major findings is that joint music-making efforts among Igbo women enhances bonding and reinforces group identity that yields psychological empowerment. I argue that the psychotherapeutic intentions of African music offer an ideal medium through which Igbo women can achieve psychological and social empowerment.
And also, in the 1970s, when Igbo highlife started to gain mainstream popularity, musicians like Osita Osadebe, Oliver De Coque, Morocco Maduka, etc, would, leaning heavily on guitars and pianos, tell stories across verses. Usually, the chorus, steeped in Igbo philosophy, would reecho the theme of the narrative.
Background:Ā Living in Nigerian environment is enough stress. In our time, many students could not cope with the stress of school environment like ours and others are still suffering from different health problems attributed to stress. Based on this, we investigated the effect of music therapy with relaxation technique on stress management among university students in southeastern Nigeria.
Methods:Ā Participants for the study were 142 university students in the Southeastern Nigeria. Perceived stress scale (PSS) was used to measure the symptoms of stress. Statistical tool used was repeated measures with analysis of variance (ANOVA) to ascertain the effectiveness of music therapy with relaxation. Among other tools used was PartialĀ to examine the effect sizes and level of changes inthemanagement of stress across groups.
Results:Ā The finding indicated that there were no baseline differences in levels of stress management between participants in the treatment and waitlist control conditions. Results revealed significant improvement in stress management for participants in the music therapy with relaxation group, whereas the waitlist control group showed no significant change in their score over the same period. Furthermore, the positive effect of music therapy with relaxation was maintained at follow-up.
Conclusion:Ā The findings of this study suggest that the efficacy of music therapy with relaxation technique for improving the students' stress management can be consistent at follow-up. Hence, music therapists, counsellors and psychotherapists should continue to investigate the beneficial effects of music therapy with relaxation on stress management among university students in every part of the world.
A study of inculturation, composition and music among Catholics in Igboland, Nigeria. The article insects with contemporary discussions of inculturation/enculturation after Vatican II and the recommendation of St. John Paul II in his Ecclesia in Africa.
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In addition to round pots for storing liquids, Igbo women make musical pots that are played at women's dances, wedding ceremonies and gymnastic events. This one produces sound in two ways: by hitting it with an open palm or by striking the vessel with a leather pad while covering the top and side openings to control the flow of air.
The study of Ethnomusicology has extended the frontiers of music studies in general, beyond the imaginary boundary set earlier by formal educators and curriculum planners. The musical heritage of every culture, tribe and place is beginning to count and so, the study of world music is just starting to make sense. This paper looks at Igbo music from the point of view of organology-the study of musical instruments with focus on the classifications. Using a descriptive-analytic approach, a review of both the current state of the studies and problems is advocated. 2351a5e196
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